Cleber Rafael de Campos: “I have NOT read and agree to the terms of use”. “Despite the internet is a place for freedom of speech and participatory culture, most of our time online is passed inside the walled gardens of social networks. In my project I meant to show that you are just as free online according to the corporations rules you network with. It’s a newspaper that has the aim to make explicit the content inside top 6 social network’s terms of use.”

Jasna Jernejšek: “Barbie World is Beautiful”. “Barbie World is Beautiful is a parodic photographic series in which I transfer the everyday, often stereotyped, life situations into idealized environments of the Barbie world.”

Daniele Torcellini: “Selfie”. “The images are digital collages where the heads of famous painters have been cut from their self-portraits and pasted over the bodies of celebrities or common people who took selfie.”

Berrak Eyiceoglu: “Earth Table”. “This project is inspired by a series of collective dining events, which was organised by an activist group called “Anti-capitalist Muslims” from Turkey, happened during the riots in Istanbul 2013. The event was a reaction against the wild-capitalist and discriminatory politics of the current pro-Islamist government via public space interventions. The idea was simple: They organised Iftar meals (the evening meal during Ramadan) at Taksim square that the participants sit on the bare ground, bring some simple home-cooked meal and share it with anonymous people.”

Julien Boisvert: “Sponsor a Wealthy Child”. “SaWC is a transmedia game that upends the logic of aid. Families from the South come to the rescue of Western children suffering from “relational poverty”. Three infomercials tell the stories of these children “in need” by copying the aesthetic used by NGOs. An interactive platform allows users from the South and from the West to be paired.”

Ren Fah / Anna Mitterer: “The Lament Chorus”. A performance by the Artgroup ­Dithyrimbaud. It should take place as an intervention in different public locations (topi). The Lament translates feelings of pain, loss and mourning, that especially in former Yugoslavia follow the traces of violence and forced separation. This intervention tries to find those places, where the inscribed history of the public places, during the forced separation, surfaces.”

Christian Zöllner, Sebastian Piatza, Julian Adenauer: “Ready to Cloud”. “Imagine! Teleportation as we all know from Star Trek can be possible! Or even nearly. With the Ready to Cloud project we propose a first trial on simulating a teleportation system within the possibilites of off the shelf materials.”

Matt Kulesza: “1000+ Coffees“. “I plan to have a one-on-one coffee with every single one of my 1000+ Facebook “friends” over the space of the next three years, or as long as it takes to complete.”

Und hier sind sie: Die Gewinner des diesjährigen MEMEFEST-Festivals – wieder einmal eine wahre Schatzkammer an großartigen, politischen und subversiven Projekten aus den Bereichen Kunst, Design und Technik. “Dialogue is tirelessly presented as ‘the’ solution to the problems of ‘our’ times – in art, war, love, democracy and even in the workplace. In fact, dialogue has been central to the ethos of Memefest since its inception back in 2002. But what if dialogue is not working? We were convinced that an urgent fresh look, an updated reflection on the current states of dialogue in an increasingly anti- dialogic culture is very necessary. Curated by Alana Hunt and Oliver Vodeb, RADICAL INTIMACIES: DIALOGUE IN OUR TIMES was the theme of this year’s Memefest. We were trying to ask a difficult question in order to honestly explore all the complicated failures and the hopeful potentialities that feed our faith in dialogue – politically, creatively, laboriously and intimately. People from 26 Countries around the world have responded to our call and have been working on many of the challenging aspects of Dialogue. More than 250 works in the categories Visual communication practice, Critical writing and participatory art have been submitted to this years Friendly Competition.” Und hier gibt´s alle ausgewählten Arbeiten zu sehen.

Warum liegt hier überhaupt Stroh rum? Schöne neue Kooperation zwischen GEC und BR1 in Turin. “An unauthorized intervention in which the two artists go through the streets of the area “Barriera di Milano”, pushing a bale of hay and dodging pedestrians and cars. The action will end with the final occupation of a car park. The forcefulness of the performance lies in its different reading keys, sometimes romantic, sometimes humorous. More or less consciously, various issues about current events are touched: from the relationship between natural and artificial landscapes, to the unbridled resources consumption in urban centers; from the different uses of the public soil to the rediscovery of the rural area, seen as an individual resistance to the depersonalizing pressure of the global economy.” Eine ähnliche Performance hat vor einigen Jahren einmal der deutsche Künstler Eric Pries realisiert. Via: Mail